Fine Art International Magazine
The Illuminated Works of Victoria Moore.
Esoteric principals are intricately explored and woven throughout Victoria Moore’s body of work “Mythic Women“.
In her most recent painting, with it’s richest detail to date, “The Mystery School of Sophia” intricately explores the rich iconography of The Mystery Schools of ancient cultures as she reinterprets them and brings forth her rich and complex vision for a new generation. Anyone with even a vague interest in The Da Vinci Code or the more recent Angels & Demons, can look deeper into the imagery in this body of master works spanning two decades that have been acquired and now represented by Legacy Fine Art Publishing.
It was “The Mysteries” and the teachings of the ancient philosophers that spoke to her heart and have influenced her master works for almost two decades, where the secret sciences of the Egyptians regarding the culture and unfoldment of the human soul began her journey with “The Goddess Isis”. As many masters before, she chose deep research along the path of personal spiritual evolution and has embraced the mythical in a new interpretation for our time. |
As a painter, she invokes many elements of renaissance, classical and romantic styles and infuses the symmetry and of Alphonse Mucha and Erte, who she admits, are some of many influences. She engaging woods as a substrate at times when texture becomes an integral element. Stylistically, she often blends old school with new, the past with the present.
Each painting becomes itself a form of a mythic journey involving the observation and understanding of nature and human nature. This understanding exists universally in sacred and wisdom stories. It exists within the structure of the art itself. It speaks through the images and iconography she researches and applies. Mythic Journeys endeavor the observation and understanding of nature and human nature. This exists universally in sacred and wisdom stories and it exists within the structure of the art itself. It speaks through the images and iconography she researches and engages.
The dualistic ideals for the two pillars that often appear in her works are evident in various world spiritual philosophies. The allusions to Beauty and Strength, Severity and Mercy, Feminine and Masculine, Black and White, active and passive, and other dualistic ideals where most esoteric traditions find the foundation for this Knowledge in regard to the Pillars. Sophia, considered the “wisdom’ pillar or Goddess of Wisdom, was honored no less than with the Hagie Sophia, Istanbul, Turkey.
“Sophia, as the feminine companion to God, symbolizes the womb of creation, which brings forth all life from the sacred marriage of opposing energies: spirit and matter, heaven and earth, intellect and intuition. To know we are creative beings, we must create. Victoria was raised without the familial influence of organized religion and has explored international ethereal and spiritual concepts after a near-death, out of body experience in her early twenties. This experience and her ongoing research continue to influence her works today.
When certain areas of the brain are stimulated by the secret processes of the Mysteries, the consciousness of man is extended and one is permitted beyond the physical and able to behold the invisible and immortals, entering into the presence of the goddess in her elements. Be it Isis, Sophia, Cleopatra or the next Goddess that will emerge, tryst that Victoria’s work will engage and inspire you to look deeper into them again and again.
Even Victoria’s paintings of non-mythic work appear influenced by the two pillars of spiritualistic philosophy, the Western Tradition and the Eastern Tradition.
“In these mythic works I endeavor to knock on the door of the human heart which, when opened, causes one to remember their magical origins. Through this entry, impossible things happen and the portal within the human psyche transports dreams into the visibly accessible works of art.”
It’s spirit lies within the natural philosophy of ancient Greece where theoretical foundations were laid in 5th century B/C. She muses that “As an artist, in each work, I can create a stumbling block or a stepping stone, whichever results, it is there as a statement that will outlive me.“ When you see the works exhibited as a group the meanings seem to dance together - mind and emotion, spirit and material, thought, word, and image all coalesce in a single vibrant synergy.
It’s in the details that most will never be mindful of, such as the modern myths one can find portrayed in Finishing Touches, as she looks through the veil and illusion, and engages the non-dimensionality of her image in the mirroring, she prepares herself, as women have for centuries, for presentation to the public and for the anticipated objectification and judgment so often extended to powerful women. She is proud, steady and confident. On the counter, the perfume she will invisible adorn herself with is nothing less than ‘Rapture”, also not by accident, is one of Victoria’s Secret. Pun intended.
When you take the Merriam-Webster definition of myth of “a person or thing having only an imaginary or unverifiable existence” then a larger body of here work comes into play. The near-death imagery from “Surrender” and “Manifestation” to the Dreamscape series of nudes you begin to see the thread that ties these seemingly disconnected bodies of work together. Even the Indulgences Suite involves an exploration of the sensations each painting and the emerging Elements series has begun with water, in the form of “Rain”. Even the reinterpretation of Alice Through the Looking Glass, created for the Tori Amos RAINN calendar in 2010, the perspective she forces is not only in the image, but also in its' concept, in presenting an empowered Alice as a young woman exploring myth and magic.
Victoria’s work has gained international recognition and awards and she gained the attention of Dept. Director Don Lopez at The Smithsonian National Air & Space Museum who selected two for the permanent collection. She is an award-winning, past State Ambassador volunteer for the Portrait Society of America and a member of The Academy of Fine Art Foundation, Women’s Caucus for the Arts and a founding member of the National Museum of Women In The Arts.
“Creating is a sublime gift. If ‘myth’ is defined as having only an imaginary and unverifiable existence, then in my legacy, I intend to leave evidence that these concepts move beyond myth, and that in the 20th century, they are still relevant and continue to intrigue, enlighten and inspire for generations to come.”
- Loretta Reinick: 2009
Each painting becomes itself a form of a mythic journey involving the observation and understanding of nature and human nature. This understanding exists universally in sacred and wisdom stories. It exists within the structure of the art itself. It speaks through the images and iconography she researches and applies. Mythic Journeys endeavor the observation and understanding of nature and human nature. This exists universally in sacred and wisdom stories and it exists within the structure of the art itself. It speaks through the images and iconography she researches and engages.
The dualistic ideals for the two pillars that often appear in her works are evident in various world spiritual philosophies. The allusions to Beauty and Strength, Severity and Mercy, Feminine and Masculine, Black and White, active and passive, and other dualistic ideals where most esoteric traditions find the foundation for this Knowledge in regard to the Pillars. Sophia, considered the “wisdom’ pillar or Goddess of Wisdom, was honored no less than with the Hagie Sophia, Istanbul, Turkey.
“Sophia, as the feminine companion to God, symbolizes the womb of creation, which brings forth all life from the sacred marriage of opposing energies: spirit and matter, heaven and earth, intellect and intuition. To know we are creative beings, we must create. Victoria was raised without the familial influence of organized religion and has explored international ethereal and spiritual concepts after a near-death, out of body experience in her early twenties. This experience and her ongoing research continue to influence her works today.
When certain areas of the brain are stimulated by the secret processes of the Mysteries, the consciousness of man is extended and one is permitted beyond the physical and able to behold the invisible and immortals, entering into the presence of the goddess in her elements. Be it Isis, Sophia, Cleopatra or the next Goddess that will emerge, tryst that Victoria’s work will engage and inspire you to look deeper into them again and again.
Even Victoria’s paintings of non-mythic work appear influenced by the two pillars of spiritualistic philosophy, the Western Tradition and the Eastern Tradition.
“In these mythic works I endeavor to knock on the door of the human heart which, when opened, causes one to remember their magical origins. Through this entry, impossible things happen and the portal within the human psyche transports dreams into the visibly accessible works of art.”
It’s spirit lies within the natural philosophy of ancient Greece where theoretical foundations were laid in 5th century B/C. She muses that “As an artist, in each work, I can create a stumbling block or a stepping stone, whichever results, it is there as a statement that will outlive me.“ When you see the works exhibited as a group the meanings seem to dance together - mind and emotion, spirit and material, thought, word, and image all coalesce in a single vibrant synergy.
It’s in the details that most will never be mindful of, such as the modern myths one can find portrayed in Finishing Touches, as she looks through the veil and illusion, and engages the non-dimensionality of her image in the mirroring, she prepares herself, as women have for centuries, for presentation to the public and for the anticipated objectification and judgment so often extended to powerful women. She is proud, steady and confident. On the counter, the perfume she will invisible adorn herself with is nothing less than ‘Rapture”, also not by accident, is one of Victoria’s Secret. Pun intended.
When you take the Merriam-Webster definition of myth of “a person or thing having only an imaginary or unverifiable existence” then a larger body of here work comes into play. The near-death imagery from “Surrender” and “Manifestation” to the Dreamscape series of nudes you begin to see the thread that ties these seemingly disconnected bodies of work together. Even the Indulgences Suite involves an exploration of the sensations each painting and the emerging Elements series has begun with water, in the form of “Rain”. Even the reinterpretation of Alice Through the Looking Glass, created for the Tori Amos RAINN calendar in 2010, the perspective she forces is not only in the image, but also in its' concept, in presenting an empowered Alice as a young woman exploring myth and magic.
Victoria’s work has gained international recognition and awards and she gained the attention of Dept. Director Don Lopez at The Smithsonian National Air & Space Museum who selected two for the permanent collection. She is an award-winning, past State Ambassador volunteer for the Portrait Society of America and a member of The Academy of Fine Art Foundation, Women’s Caucus for the Arts and a founding member of the National Museum of Women In The Arts.
“Creating is a sublime gift. If ‘myth’ is defined as having only an imaginary and unverifiable existence, then in my legacy, I intend to leave evidence that these concepts move beyond myth, and that in the 20th century, they are still relevant and continue to intrigue, enlighten and inspire for generations to come.”
- Loretta Reinick: 2009